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Old 28th June 2019
  #9
Quote:
Originally Posted by drBill View Post
PS - and when I said that scores need mastering to get approved, I didn't mean they need to be as crushed and aggressive and loud as green day. There is a delicate balance.
This... +1000

This is why I am very careful to never say that I apply mastering to scores... because I'm technically not and no score will every be delivered "mastered" the way new people to the industry understand the word "mastering" to mean.

In my post I said I mix it about 6dB hotter than I would normally... that is my "mastering" if you will. I have brick wall limiters before all my stems but their thresholds are set to -0.5 or -1dB... just enough to stop a hard clip from happening if I push something a little too far but never enough to emulate Top40 Album/Song mastering.

For me it's all about the listening level. The quieter you are monitoring as you mix, the louder the average level will be overall because you won't turn the parts that are supposed to be quiet down as far as you would if you were listening louder. Your monitoring level sets your dynamic range and your perceived loudness.

For me... the composers temps are always at least 2 to 3 dB quieter than I mix anyway... and it never comes to me until everything is ok'd and signed off on. So I never get anything back as "failed" by the director/producer/editor since I never even send the stuff I do to them. I send stuff right to the dub stage and they mix it in.